Warren Mitchell

The Italian Job got past me but, from what I can tell from descriptions thereof, it set in motion a trend in Peter Collinson’s work that is continued in Innocent Bystanders. The potentially portentous title notwithstanding, this latest Collinson takes us far from the significance-laden likes of The Penthouse, Up the Junction, and A Long Day’s Dying into the region of closeup slambang for (commercially if not morally) pure purposes of entertainment. The government arms that manipulate poor, physically unsexed Stanley Baker and his fellow/rival espionage agents are unrelentingly portrayed as cold, inhumane entities staffed by inhuman types like Donald Pleasence (who manages to be amusing about it) and Dana Andrews, but this has simply become a convention of the genre these days and no longer counts as the subversive gesture it once was in the black and white morality plays of Fritz Lang and the crimefighting semidocumentaries of Anthony Mann.